Had a great time playing at the Sound room with a talented group of musicians up from LA in the Heart of Oakland and the concert happened to be during the same night the Warriors won another NBA Championship.  The energy was electric and except for one audience member, who had too much to drink and fell flat on his face, no one got hurt.   Hope that guy is ok!  I would like to thank everyone at the Sound Room as well Melissa Morgan, Kevin Kanner, and Sam Hirsch for inviting me to share the stage with them.  A good time was had by all and I highly recommend checking out performances at the Sound Room for future events.



https://www.facebook.com/melissamorganjazz/
https://www.facebook.com/events/178312916165417/

This is a great tune by pianist Duke Pearson that he wrote for his wife.  Check it out this version played by a great band on Lee Morgan's album Charisma.   

Here are some Transcriptions of bassists playing in 2 feel.

"The More I see you"  Roll Call-  Paul Chambers
"Old Country"  Nancy Wilson/Cannonball Adderley- Sam Jones
"I'll be Seeing you"  2horns/2 Rhythm- Wilbur Ware
"Star Dust"  Stardust-  Paul Chambers

Hope you enjoy reading and playing these transcriptions. Appreciate any feedback you may have. Let me know what you think.

More to come in the near future. 

 I am convinced transcribing (along with playing along with records) is one of the better ways to learn the nuiances and feel of Jazz at the highest level. I've done some in the past but It's always been a slow process for me and I hope get quicker as I do more. For me the point is to not copy licks but to gain insight into Jazz vocabulary, rhythmic feel, and broader concepts that one can apply to their everyday playing. I really like Clark Terry's idea about the keys to learning Jazz being Imitation, Assimilation and Innovation.  Transcribing is definitely an important tool that bridges the gap between Imitation and assimilation.  How you use the knowledge gained from the process is where innovation comes in but before you know where you're going it's important to know where the music comes from.

My first Transcription of 2018 is Wilbur Ware's bass line on the song "Soon" from Ernie Henry's 7 Standards and a Blues.  This is a great Gershwin tune that in my opinion doesn't get played often enough.

I thought it would be interesting to also include a transcription of the same song but this time played by Paul Chambers on Red Garland's album "Can't See for Looking". Both Wilbur Ware and Paul Chambers are both great bassists and I wanted to compare their different approaches to playing this tune. If you're interested in viewing them you can download the pdfs in the link below just below the you tube videos. 

Both Bassists use linear bass lines and are not afraid to start a measure by playing a note that is not the root as long as it fits in with the general architecture of the line.  Wilbur Ware sneaks in larger intervals without interfering with the linear motion of the line.  After syncopated dotted quarter notes for the intro he starts bass line with 2 feel for 8 measures and then plays quarter notes for  next 8 measures. I like this approach since it gives a nice variety for the head.  PC pretty much walks quarter notes the whole time but adds some really nice embellishments and the shape of the line is very connected.  Both players do a great job of playing notes up a half step to create dissonance/suspsension/leading tone to connect their lines.  Also, with quick two five progressions both players often just emphasize the dominant  5 chord of the measure for 4 beats while not worrying about outlining the II chord. 

I fully understand the Irony of being 6' 6'' and playing in a band named PipSqueak. Looking forward to playing at this sold out event.  Last year was a lot of fun. 

https://www.facebook.com/events/726962697498399/

I had a great time Playing Jazz with The Ken Fowser Quintet at the Black Cat from 8/23 to 8/27.  Special thanks to everyone in the band and all the management/staff at the Black Cat for allowing me to be a part of a fun week of music. 


Ken Fowser Quintet

Ken Fowser -sax
Josh Bruneau- trumpet
Grant Levin- piano
Ollie Dudek- bass
James Gallagher - drums
 
special guest Jeffery Burr (guitar)

Friday, March 10th – 5:30-8:00 pm
Ollie Dudek Quartet featuring saxophonist Noel Jewkes

February 17, 2017 By Eric

Noel Jewkes, everybody’s favorite tenor player, fronts a terrific rhythm section — leader Ollie Dudek on bass, Jeffrey Burr on guitar and James Gallagher on drums — doing what jazz musicians do best. Classic and obscure tunes beautifully interpreted, embellished and plumbed to their depths. 

http://www.birdbeckett.com/friday-march-10th-530-800-pmollie-dudek-quartet-featuring-saxophonist-noel-jewkes/

Excited to be working with some great actors and musicians on The Cool; a musical play about the life and times of Chet Baker.    Show Dates:   February 10, 11, 17, 18, and 24, 25   All shows are at 8 pm.

Don't miss this collaboration between Smith Dobson and Philip Watt to re-create a special night in the career of the legendary singer and trumpet player Chet Baker. With Barry Eitel's incredible one-act, hammered out over two years, in a workshop production at PianoFight and a full production at Jimmy's #43 in NYC, "The Cool" is the barn-door opener for a fabled venue on the corner of 21st and Valencia in the mercantile corridor of SF's colorful Mission District. Viracocha is renamed AMADO'S after a beloved bartender from the same neighborhood. David Quinby from Riptide and Laura Fraenza from Bill Graham Presents are facilitating. This limited run has limited seating, so book tickets now!

Update:  The Cool has just been confirmed for an extension Starting on the first weekend in March. 

http://www.philipwattcasting.com/the-cool
http://kalw.org/post/fog-city-blues-cool
https://www.facebook.com/events/1263731477027184/